FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 02/06/2012
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SAGA: Saga LP (ANM 005LP) 29.00
“This is cult Swedish heavy progressive rock group Saga’s super rare lone album released back in 1974. Saga was formed by members of the heavy psych/prog band November who released two brilliant albums before disbanding in 1973. Saga are not as famous as November but musically stay one step ahead, with their rich blend of prog/fusion, heavy acid blues and dark folk-rock, making this a must-have in any collection of ’70s proto-metal and prog-rock as well. Acid Nightmare Records is proud to present this reissue, limited to 400 copies, in remastered sound and original artwork.”
YES-MEN, THE: Prosody LP (BANG 048LP) 21.00
The Yes-Men were the band led by Sean Greenway (God) and Stewart Cunningham (Leadfinger, Proton Energy Pills, Brother Brick, Asteroid B612, etc.) in the late ’90s in Australia. They recorded this masterpiece of high-energy rock and roll called Prosody where the Sonic Rendezvous Band meets the darkest and angriest New Christs. This magnificent album was released in 1999 on limited edition back in the day and it is now again in 2011 available remastered, in a deluxe vinyl edition with gatefold cover and thick 150 gram vinyl, and including exclusive text from Jaime Gonzalo (Ruta 66 Magazine co-owner) and previously-unpublished pictures in a limited edition of 500 copies. This record is with no doubt one of the most important records of Australian high-energy rock ever recorded. It’s a classic.
PERKINS & THE DARK HORSES, TEX: Tex Perkins & The Dark Horses LP (BANG 055LP) 21.00
Tex Perkins & The Dark Horses return with a new album since their acclaimed 2003 Sweet Nothing. Featuring Charlie Owen (Beasts Of Bourbon, New Christs), Joel Silbersher (Hoss, God) and James Cruickshank (Cruel Sea), among others, Tex Perkins delivers another bunch of tracks full of dark country and high octane blues, and intimate and delicate melodies which mean another further step in his solo career as night-time balladeer. Bang! Records is proud to release this collection of soulful, instrumentally complex and rich songs on thick 150 gram vinyl. Limited to 1,000 copies.
ESPERIT!: Endavant Continu LP (BR 039LP) 25.00
“Mau Boada is the guy behind Esperit!, Catalan one-man-band recording this first album that features a collection of sounds he (accidentally) recorded between 2005 and 2011 in various places such as highway stops, swimming pools, in the forest, and occasionally in a studio as well!!! It obviously has that home-made lo-fi feel, and it’s a great mix of electric and acoustic psychedelia, trippy folk and real people vibe all way through. Vinyl release is limited to 500 copies only.”
SECRET CIRCUIT: Nebula Sphynx/Parascopic Rope 12″ (BIS 002EP) 11.00
“The debut 12″ by electronic diviner Secret Circuit – aka Eddie Ruscha (also of Laughing Light of Plenty & Food of the Gods) – is now the physical property of earth’s people. The two tracks contained herein traveled across distant seas & sands in search of an altar from which to radiate, finally landing in the lap of Beats In Space for the label’s second ever release. On ‘Nebula Sphynx’ analog synths & sequencers burn deep like a tincture of jack house and ham-fisted experimental attack music. The track features special guest circuit Cole MGN (The Samps, Nite Jewel), who gives the ‘Sphynx’ an extra crispy, cosmic crunch. Ruscha keeps the meters peaking on ‘Parascopic Rope’ with randy drum machine blasts and Casio SK-wanderings. WARNING: Portals to astral planes may suddenly appear between speakers while spinning this side.”
HAINO/JIM O’ROURKE/OREN AMBARCHI, KEIJI: Imikuzushi 2LP (BT 007LP) 26.50
Limited gatefold double LP version with printed innersleeves. “The yearly summit of Keiji Haino, Jim O’Rourke and Oren Ambarchi continues with Imikuzushi, which finds the group extending the power-trio strategies of 2011’s highly-praised In A Flash Everything Comes Together As One There Is No Need For A Subject (BT 005LP) and bringing to them a newly-sustained intensity. For this performance, Haino limits himself to electric guitar and vocals, forming complex networks of slashing rhythm work, noise squall and chromatic shredding, moving at times to near-silent passages of howled vocals and isolated, hanging guitar strums. The tendency towards driving free-rock which surfaced on moments of the trio’s last release is cemented here, with O’Rourke’s fuzzed-out, non-linear bass riffing moving the music into almost garage-rock areas, combining with Ambarchi’s drums to form a bedrock of hypnotic, metronomic pounding which transforms itself effortlessly into passages of flowing free-time. Like all of Haino’s best work, the trio transcends any ‘rock’ genre exercise to enter a non-idiomatic zone of ritual intensity, creating a music formed purely out of instrumental and group-mind possibility. Presented as four unedited excerpts salvaged from an epic show that lasted well over three hours, the sometimes raw nature of the recording only adds to its directness and harshly emotive quality.” –Francis Plagne, Melbourne, November, 2011. Design by Stephen O’Malley (Sunn O)))) with high quality live shots by Ujin Matsuo and stunning images by Tokyo-based photographer and sound artist Shunichiro Okada.
CHARDRONNET, PATRICK: Karma 12″ (BOXER 087EP) 12.50
This is the first solo release on Boxer Recordings from Patrick Chardronnet. As soon as you hear the first sounds of “Karma,” your feet begin to tap along within the rhythm, you will lift your hands in the air, and your whole body will start dancing in the light breeze of the sounds. And although “Shanti” on the B-side may paint a picture of tranquility, serenity and happiness, it is spiced with enormously deep bass lines and a pushing groove.
ROEDELIUS: Plays Piano (Live In London 1985) LP (BB 078LP) 17.00
LP version. Breathtakingly beautiful piano fantasies from the year 1985 — released for the very first time! In 1985, Hans-Joachim Roedelius was still perceived by the music community as an electronic artist. Yet ever since acquiring his Bösendorfer grand piano in 1983, his interest had grown in the most royal of instruments: the piano. While staying with Brian Eno in 1985 (they had collaborated earlier in the ’70s), Roedelius composed a wealth of new material on his friend’s two grand pianos (or, as Roedelius would say: the music flew to him). He organized a series of concerts to introduce his new musical direction, with the Bloomsbury Theatre in London amongst the venues. Guests included Brian Eno and The Edge, with Roedelius taking the belated opportunity to use the artwork to thank them accordingly for their support. For Roedelius, this London concert remains one of the highlights of his career: “At the Bloomsbury Theatre I encountered a Steinway grand piano of exceptional quality. I was thus given the perfect opportunity to put my ideas of simple piano rendition into practice. For me, the aural explorer, it was a gift from heaven,” he describes of the instrument. The audience responded enthusiastically. “People were kneeling down before me in gratitude and happiness,” Roedelius recalls. And anyone who listens to the recordings will understand why. Roedelius plays his way through 21 delicate, drifting piano fantasies, sometimes meandering dreamfully, often progressing towards gorgeous, deeply moving melodies. Asmus Tietchens musings on Roedelius’ 1991 opus Piano Piano are just as valid here: “His music is quiet and focused, but to call it contemplative or even meditative would also be wide of the mark: not all music which draws us out of ourselves is accompanied by spiritual pomp.” (Fortunately, there is no audible trace of the audience at any point of the recording.) Which leaves us with the question: why did we have to wait 25 years for this treasure to see the light of day? Roedelius explains: “I always knew that this concert would have to be made available some day, I was just waiting for the right moment, for the right partners who would do it justice.” On 180 gram vinyl with free download code.
SCHNAUSS & MARK PETERS, ULRICH: Underrated Silence LP+CD (BB 094LP) 17.00
LP version, including a free CD of the entire album. Transporting the sound of shoegazer aesthetics into an electronic context, this is how Ulrich Schnauss once described his artistic goal. Influenced by bands such as My Bloody Valentine, Slowdive, Cocteau Twins and Chapterhouse on the one hand, yet wholly at ease with the electronica of bands like The Orb, Bionaut, Orbital, 808 State and unequivocally appreciative of veterans of the genre, Tangerine Dream or Manuel Göttsching, for example. A brother in spirit to Robin Guthrie, one might say — an apposite epithet for Schnauss. His collaborative partner Mark Peters might also be considered his soul brother. Through his band, Engineers, he has similarly found success in following in the footsteps of his musical paragons. Engineers have released wonderful albums of dream-pop, infused with the same spirit as the solo efforts of Schnauss. Peters and Schnauss have been friends for many years and over a year ago, Schnauss joined the ranks of Engineers. For the past couple of years, they have been meeting up sporadically and making music. The fruits of these sessions served as the basis for the ten tracks on this joint album. More used to traditional songwriting, the working process was new to Peters. In the absence of conventional structures, the sole aim of creating an atmosphere was an approach he was somewhat unfamiliar with, but one he found liberating. Working only at night was a decisive factor for Peters, lending the music a somnambulant quality — an effect that was intentional, striving to create something which cannot be ascribed to a particular musical category or zeitgeist. For Schnauss meanwhile, conjuring up an atmosphere through music is the most normal thing in the world: he creates music for those little escapes. On this latest album, Schnauss brings the piano more into play than usual, which enhances the overall impression splendidly. Underrated Silence is a quiet album, for the most part. Its multi-layered fabric reveals something new every time one listens to it — a wealth of fresh discoveries, new rhythms emerging from the sound cloud, hitherto unnoticed melodies illuminating the background. Schnauss and Peters have crafted music which is enchanting in the truest sense of the word — shimmering sounds, floating echoes, rhythmically reverberant chords which wrap themselves around the listener, lifting you into a state of suspension and carrying you gently away.
CHASING VOICES: Valley Of The Dry Bones 12″ (PRESERV 004EP) 11.00
“Chasing Voices returns for its 4th installment with an audacious reiteration of the project’s uncompromising ethos and technique. ‘Valley of the Dry Bones’ operates on the peripheries of club music and far-sighted rock mutation, death march-disco for the ever-present sunburn of daily scourges and musical apathy. Prospering from plentiful sentimentally-tinged stabs and a breathtaking, slow-churning progressive disintegration, ‘Valley Of the dry Bones’ hits intuitively and suddenly, a bent and bruised anthem for problematic times. Despair can be celebrated, and celebration can be despairing—if anything the NYC collective’s latest bomb seems to stem from a need to revive the cannibalism of a movement that has grown weary of its own cliches, to dissect itself and hopefully come out the other end better and new… albeit scarred and never quite the same.” One-sided release.
JAAR, NICOLAS: Space Is Only Noise LP (CCS 055-2LP) 21.00
LP version. Second edition with amended tracklisting (the track “I Got A Woman” has been deleted). Four years after his debut EP on Wolf + Lamb, Nicolas Jaar, the New Yorker by way of Chile returns to Circus Company with Space Is Only Noise, an uncompromising manifesto on traces of the past, love lost, and spectres of the future. Jaar has made it quite apparent over the course of his nascent catalog and increasingly sought-after live sets that challenge is an intrinsic part of his creative discourse. Few are the producers of any age with the guts to ride a sub-100-bpm tempo at peak-time in the techno Mecca of Berlin, and fewer still are those who receive an ecstatic hands-in-the-air response for their precocious efforts. It is precisely this sense of risk which elevates Space Is Only Noise beyond the realm of valiant first effort or crossover dance music oddity. Those looking to wade through the sea of Jaar’s potential influences will quickly find themselves in the deep waters of golden age Factory records, the home-spun digitalism of Mille Plateaux, Endtroducing-era DJ Shadow and Eric Satie. Jaar gently coaxes his listener into the experience from the opening sounds of rolling waves on “être,” but quickly transitions into the sophisticated percussion and meandering melodies that characterize his sound. Jaar seeks, and often finds, beauty in melancholy on the first few tracks of the album. As the album begins to accelerate with “Too Many Kids Finding Rain In The Dust,” Jaar confronts us with the often forgotten reality that our sadness is not mutually exclusive on the dancefloor. Suddenly, on “Keep Me There,” Jaar’s voice appears over the delicious, rumbling melody. Though your hips stir to the relentless bass line and the sexiness of the voices, your heart is jolted out of its luxurious malaise when horns erupt seconds later. “How can you talk about a landscape without showing the sky and the earth?” a voice asks, translating from the French on “être.” So Jaar concludes, revisiting the same track to end the album. Complete landscapes such as these are only realized in contrast — the indulgent against the reserved, the sky against the earth; lightness and darkness. Space Is Only Noise is a tour de force with few modern equals, and a great sign of things to come from one of electronic music’s most exciting producers.
SCHNEIDER & AERA, MARC: The Taylor & Smith EP 12″ (CCS 062EP) 12.00
Marc Schneider’s studio collaborations with Ralf Schmidt aka Aera are fast becoming his most celebrated output. After a string of successful remixes, the pair consummate their shared passion with this focused three-tracker on the club-ready end of the Circus Company record bag. Whispers of techno melodies and textures hum away under the surface, while those with keen ears will pick up the sneaky tributes to UK rave culture that Aera is known for sprinkling over his tracks.
BOYS NOIZE: Adonis Remix EP 12″ (COR 090EP) 12.50
There is hardly any other track so closely connected to Sven Väth’s twelfth Ibiza season than “Adonis” by Alex Ridha aka Boys Noize. With his fusion of energetic disco, massive percussion and Chicago memories, “Adonis” perfectly fit into the intensive late summer. DJ and producer Mark E skillfully transfers “Adonis” into a hypnotic house opus with a recognizable Detroit pinch.
ENOLA/NHAR: Slowmotion EP 12″ (CORR 005EP) 12.00
Enola is the project of French DJ Matthieu Monnin, previously one-half of Noirdegout. Matthieu finds his niche in melodious techno, taking inspiration from the sounds of the ’90s. He has done work with the likes of Rodriguez Jr., Anoraak, and Arno Gonzalez, and now he joins Correspondant with “Slow Motion.” On the flip, Nhar turns the darkness into light with his best remix to date.
TADEO: Futurism 12″ (CYCLICAL 018EP) 12.00
Tadeo presents techno capitalized in a hypothetical trip to the future, illustrating visions of a world that is to come. “Futurism (Edit And Signals Mix)” are two tracks of sci-fi techno, while “Spaceship Alarm” is a track composed for the dancefloor, great for the more energetic moments of the best DJ sets.
ITALIAN HORN: Red Affair 12″ (DAIS 027EP) 16.00
“Six song 12″ debut from Italian Horn, a solo project of New York City writer Anthony Pappalardo. Continuing the home recording tradition of My Dad is Dead, East River Pipe and Sebadoh, Red Affair channels equal parts Guided By Voices, Bailterspace and Flying Saucer Attack. Synth and subtle noise intertwine with short strummed songs creating direct but layered soundscapes. Cover collage created by Robert Pollard and limited to 300 copies.”
PERISPIRIT: Spiritual Church Movement LP (DIGI 038LP) 18.00
Perispirit is the duo of Ricardo Donoso and Luke Moldof and they have been haunting the Northeast of the United States for a couple of years now. After a slew of releases on Prurient’s Hospital Productions label and Ricardo’s own Semata Productions, Spiritual Church Movement has Perispirit taking an unexpected turn as they unleash their most cohesive and accomplished work to date. Spiritual Church Movement is the sound of two worlds colliding and forming something entirely new in the aftermath. In this case, digital and analog systems are turned against each other. Moldof’s analog source material was blitzed and manipulated while Donoso worked his sorcery via digital matrix, showing that both approaches can win the prize. Squalid sonic debris spill out and melt together with beats that are barely there and melodic shrapnel to create this weirdly compelling, utterly disjointed composition. And if you thought Moldof and Donoso were concerned about expectations, Spiritual Church Movement is proof it was the last thing on their minds. Synthesizers are mauled by digital processes, battered down to bare bones, turning passages of melody into disease-stricken organisms paired with fractured, plodding rhythms, at times sounding like Autechre attempting to make a noise record: it’s well and truly fucked. The expertise with which everything is constructed, though, is what makes these pieces excel. Everything is where it should be and the combination is almost religious in its attention to detail. But before the duo gets too close to the sun, everything is burned to the ground and the process starts over. Just when you think you have it figured it out, Spiritual Church Movement is off on another disfigured tangent. Over the course of these two sprawling sides, the cult of Perispirit is born. Ricardo Donoso and Luke Moldof carry with them the conviction that anything is possible and nothing is out of bounds. Spiritual Church Movement is their manifesto. Mastered by Brad Rose and cut to vinyl at Dubplates + Mastering, Berlin. Limited to 500 copies only.
FLUXION: Traces EP 1/3 12″ (ECHO 054EP) 12.00
Echocord proudly releases the first EP from the new Fluxion album. This work is about his travels in music — the sounds, influences and aesthetics, alongside the musical influences deriving from them. “No Man Is An Island” is an unreleased Dennis Brown vocal version and “Desert Nights” sounds like desert rock meeting dub on a road movie. “Butiama” is an actual place, where variations and consistency in rhythm is within people’s DNA. This EP also includes a remix by Thomas Fehlmann.
VAZZ/LA BAMBOLA DEL DR. CALIGARI: Whisper Not/The Wrong Holiday LP (FN 004LP) 19.50
The Forced Nostalgia label continues to expand and inform with the release of this split release featuring 1980s outfits Vazz and La Bambola Del Dr. Caligari. The A-side features six tracks from Glasgow’s Vazz, a duo consisting of Anna Howson and Hugh Small. Whisper Not was recorded at the legendary Hellfire Club in Glasgow in 1982 and was eventually released on limited edition cassette, before the band were signed up to appear on the 2LP compilation Antelopes & Alligators on Operation Twilight — a sub-label of Belgium’s infamous Les Disques Du Crépuscules. For one reason or another, the compilation never materialized — but the reference to Crépuscules should give you some idea of where Vazz figure in the scheme of things. Whisper Not really is an astonishing collection of tracks — a small but perfectly-formed companion-piece of sorts to Antena’s Camino Del Sol (which appeared in the same year), with Anna Howson’s distinctive voice accompanying guitars, bass, drum machine, percussion and the Casio MT-30 keyboard — a classic configuration. But what set Vazz apart from their contemporaries is Hugh Small’s forward-thinking production signatures — something that’s most evident on “Cast Reflections” — the standout track on this mesmerizing set. The way the drum machine and guitar have been treated and compressed sounds like something from The Cure’s Faith album reworked in a current electronic studio — it’s just a profoundly beautiful and affecting piece. It really is hard to believe that these tracks have languished in the archives until now. The B-side features Italy’s La Bambola Del Dr. Caligari and five tracks recorded between 1983 and 1986. The band were a short-lived minimal synth trio from Bologna, Italy, consisting of the exotically named Judy Asquith (voice), Aurelium Spitty (sound engineer, synth, drum machines, effects) and J.R. Ewing (keyboards, effects). They recorded their first demo tape in early 1984 and sporadically played live in 1985/1986, eventually arranging the soundtrack for an installation at the art gallery Number Zero (Bologna) in Feb. 1986. Several self-produced tapes were recorded over the years but were never properly released. In 2005, Roberto Napoli mastered all the recordings from the analog tapes and kindly assisted in editing the selections made by Forced Nostalgia. The result features some of the finest lost-and-found musical gems from the ’80s gloom-pop era, finally available for public consumption 25 years after they were recorded. 500 copies only, cut at Dubplates & Mastering, Berlin.
IMPALA SYNDROME: Impala Syndrome CD (GF 256CD) 13.00
“Finally, on compact disc and in mini-LP cardboard sleeve format, the classic and ultra-rare 1969 recordings from this Venezuelan band that made more impact on 1960s psychedelic music than most American-born bands. Unremarkably sounding very much like Cream, their effective blend of melodic, laid-back songs combined with fuzz guitar numbers left a resounding impact on the American pop culture of the ’60s.”
VA: Beat Fräuleins: Female Pop In Germany 1964-1968 LP (BB 093LP) 17.00
LP version. Following two Funky Fräuleins compilations (2009 and 2011), the time has come for the Beat Fräuleins. Back we go, deep into the ’60s, when the beat forced its way into the innocent world of German schlager, when the rhythm grew hotter and the lyrics sharper, the drums louder and the guitar more distorted. Beat Fräuleins brings together 19 highlights of the era. Brigitt’s career began in the GDR, continued in the West in 1968 and ended at the age of 28. Her track features fantastic exotica and a brave arrangement using only percussion, bass and whistles. Motown’s luminaries can head to the back of the queue with Joy & The Hit Kids. This is soul in its finest form, with the greatest soul voice that Germany has ever produced. Marion Maerz was the ultimate Beat Fräulein and this track shot to number 6 on the charts. Dominique’s track addresses the topic of youth criminality. Anita Weibel’s track is a solid, Germanized version of Johnny Tillotson’s “Please Don’t Go Away.” Patty Pay’s track is a splendid little soap opera, penned by Ralph Siegel. Caterina Valente lands here in a feminist pose: promoting female autonomy and leaving the men no chance. Ingela Brander was an actress, a singer and a saxophonist. Inga Rumpf’s Sonny & Cher adaptation is an example of her extra-curricular solo activities in 1967. Conny Froboess sings a suitably unromantic song about being jilted. The track by Monique And The Lions was discovered in the CCA archives. It didn’t and doesn’t get any more garage than this in the Schlager world. The original: “Bus Stop” by The Hollies. James Last himself composed Dorthe’s jaunty number and Ruth Brandin was one of the most successful GDR vocalists of the 1960s until the Stasi wanted to enlist her. Ruth refused — effectively ending her career. Chris Doerk was another hugely popular singer from the GDR, best known as one-half of the duo Chris & Frank, here with a laid-back organ dance number. The Jacob Sisters cover The Supremes’ “Stop! In The Name Of Love” before Simone lets out a beat number and Pitty Und Ihre Beatchicks boost the merits of teenage love. Another James Last-penned track from Renate Kern is a real foot-stomper before Wencke Myhre contemplatively concludes this compilation, wallowing in a grand orchestral arrangement that is sure to melt any heart. On 180 gram vinyl.
DILLOWAY, AARON: Modern Jester 2LP (HN 250LP) 29.00
“From short bursts to long-form, hallucinatory epics, it’s a sprawling collection that highlights every facet of Dilloway’s considerable arsenal. One of the album’s two side-long attacks, ‘Look Over Your Shoulder’ is a lurid, subtly shifting piece with disembodied vocals and a barrage of extra-terrestrial tones that slithers into your cerebral cortex atop a funeral rhythm.”– Jeff Conklin, East Village Radio.”Aaron Dilloway on tape loops, percussion, synthesizer, junk, voice, and tape FX. Recorded 2008–2011. 500 copies. Silkscreened gatefold sleeve. Note: With the exception of one track (‘Eight Cut Scars’), this is a completely different release than the cassette title of the same name. Every second of this recording contains subliminal messages.”
MOLE, THE: Love Is The Way 12″ (HAUNT 005EP) 12.00
The Mole graces Haunt Music and this plane of existence with yet another sonic connection to the deepest corners of the ether-house reality. A subtle combination of forgotten vinyl moments, childhood memories and modular synth alchemy.
DISGU!SE: Listen To Me (L-OW Remix)/Camera (Underexposed Mix) 12″ (HEART 001EP) 11.00
Two percussively-led remixes of UK synth-pop act Disgu!se that keep proceedings hypnotic and progressive with their deep bass and drums. Estonian dubstep don L-OW tackle “Listen To Me” in formidable atmospheric fashion, with a five minute dub-tech influenced rhythmic propulsion interwoven with spectral vocal elements. On the flip, Disgu!se themselves weigh in at 120 bpm for a minimal yet soulful tech-house rework of their song “Camera.” This 300 copy white label 12″ is the first release on Disgu!se’s own Heartfelt imprint.
MADTEO: Bugler Gold Pt. 1 12″ (HINF 8672EP) 13.00
“The opening salvo from Will Bankhead and Joy Orbison’s new label, this EP is a cracker: a rain swept blend of hip-hop, house and techno; a diverse, tense and enthralling survey of Madteo’s own world of muffled, deep, body-rocking bass and layered, worked drama. After sterling releases on Workshop, Meaukusma and co the best yet from this Paduan In New York.”
CARETAKER, THE: Patience (After Sebald) LP (HAFTW 013LP) 20.00
James Leyland Kirby returns in 2012 with his long-in-the-making soundtrack to Grant Gee’s film about W.G. Sebald. Patience (After Sebald) is a multi-layered film essay on landscape, art, history, life and loss by the acclaimed documentary film-maker Grant Gee. It is an exploration of the work and influence of German writer W.G. Sebald (1944-2001), told via a long walk through coastal East Anglia tracking his most famous book The Rings Of Saturn (1995). The book mixes history, travelogue, memoir, meditation, fiction and images to explore the personal, public and often overlooked histories of Suffolk. In 2009, Grant approached The Caretaker to work on a soundtrack for this work and he sourced out-of-copyright Franz Schubert works from 1927 including the famous work “Winterreise.” The soundtrack has been pieced together using snippets and fragments of this source material. The album artwork features another specially-commissioned painting by Ivan Seal. Mastered and cut at Berlin’s Dubplates & Mastering. Limited edition of 700 copies.
PYRAMIDS/HORSEBACK: A Throne Without A King Cassette (HDH 219CS) 10.00
“A sprawling beast of unique nature – at once beguiling, terrifying and completely immersive. A more successful pairing of experimental-metal-drone-ambient-krautish-noise-rock collaborators you are unlikely to find, in our reality or any of its parallel relatives. Exclusive individual tracks from both participants, combined with their 45 minute collaborative sonic mass in four parts.”
KUBIN, FELIX: TXRF 2LP (ITS 008LP) 20.00
2LP version. Total Reflection X-ray Fluorescence (TXRF) is a method used to analyze the surfaces of materials by firing extremely flat X-rays. Subsequently, the physicist Joachim Knoth (1941-2004) developed a patent for precise measurement of defects in semiconductor chips. In 10 sequenced-based electronic miniatures, Felix Kubin, who presently consists of dangerous uninsulated powerlines, conducts the TXRF through an acoustical test arrangement. The experiment consists solely of a synthesizer, filter and sequencer. Full-bodied consecutive organisms arise out of which kaleidoscopic iridescent blossoms sprout. At times they appear as acoustic by-products of high energy discharges on an X-ray picture and sometimes as quiescent fluorescent images. Who knows when the experiment will come to an end? Will X-rays break at irregularities? Will transparent ears crawl over fixtures and make laboratory benches corrode? In view of the entire event’s musical beauty, all these questions are completely unimportant. Felix Kubin is one of electronic music’s most dynamic and versatile personalities. A love-child of the home recording era, his various experiments and epithets include radio playwright, composer of Futurist and Dadatronic experimental pop as well as chamber orchestra music, filmmaker, incendiary performer, record label owner, lecturer and curator. He has made artwork in all sorts of fields since the 1980s, after studying media art at the ArtEZ Hogeschool voor de Kunsten in Enschede, Netherlands and illustration/animation at the University of Applied Sciences in Hamburg. Kubin’s music is saturated with enthusiasm for disharmonic pop, industrial noise, and 20th-century avant-garde music.
HOULE, MARC: Undercover The Single 12″ (ITEM 011EP) 12.00
Marc Houle explores the mysterious power of plunging basslines and moody synths. On remix duties, Miro Pajic sneaks in, charting a decidedly bleepier course while Bruno Pronsato delivers his signature romantic techno sound. Putting Abraham Lincoln on the cover of a minimal techno record could only be a Canadian’s idea.
BERNAL, GIL: The Dogs/James 7″ (JBJ 1028EP) 11.00
Born and bred in the L.A. melting pot of Watts, Gil Bernal was a hugely prolific saxophonist who performed and recorded throughout the ’50s with the crème de la crème of the citiy’s R&B talent. Signed up with Leiber & Stoller’s Spark Records, Gil also featured on some of that writing team’s biggest and most influential hits. This super-rare solo record is a beat-heavy, jazzy number, delivered in a swinging style — currently one of the most in-demand R&B spins on the scene, crossing over to the Northern Soul circuit, too.
BLUE RHYTHM COMBO: B.R.C.’s Groove 3×7″ (JMAN 087EP) 23.50
The Blue Rhythm Combo from Barbados produced some of the heaviest funk records to come out of the Caribbean in the early ’70s — crossing the local Spouge rhythm with a heavy dose of American-styled funk and soul. This 7″ triple pack brings together six of their heaviest tracks from the early to mid-’70s, culled from their releases on the Merrydisc label and a later single on WIRL. Includes liner notes and some unseen pics.
ELLIPSIS: People/Gregory Moore 7″ (SOUL7 024EP) 11.00
Another super soul rarity fully licensed and restored from the original master tapes, limited to only 500 copies worldwide. Record maths is simple: good + rare = high price. The Ellipsis 45 is a classic example. Not only has it been huge on the Northern Scene, but funk and disco heads have been tapping their feet to its infectious rhythm and charming melody, too. It’s time this amazing 45 was revisited on its original format — the 7″ vinyl 45.
MUGO: United CD (KDCD 004CD) 15.00
“It was in June 1971-near Washington D.C., eight students at Mckinley Tech High were daydreaming of national fame. They spent countless hours in band practice, combining a highly energetic mass of instrumentalization, vocals and multi layered soul music calling themselves the Sound Affect Band at first. Later the group changed their name to Mugo Kenyatta meaning wise musicians in Swahili. They eventually shortened it up to just Mugo. Mugo hit the streets by the mid-1970s. Though slated to be the first of many releases on United World Records the single featuring ‘Organize’ and ‘Space Travel’ were the only releases. Their following music never left the master tape. By the 1980s the group disbanded. And now in 2012 Kay Dee Records has put together these recordings making it an almost all unreleased album of material with the help of Kevin Coombe and Dave Griffiths. Featuring mixes from Kenny Dope at his Kay Dee studios.”
VA: Laid 16 12″ (LAID 016EP) 12.00
Here are some fireworks to start the house music year with another Various Artists EP on Laid Records, Dial’s lovely subdivision. Palisade aka Redshape comes up with an outstanding journey into avant-garde, based on the feedback of Steve Reich’s “Pendulum Music.” Moomin is back with another lovely tune — simply on-point, direct to the heart. Lastly, RNDM begs the question: when will the first RNDM album finally be released? These three tracks prove that house music is here to stay.
M.E.B., THE: Il Principal/M5-M6 12″ (LPH 002EP) 12.00
Let’s Play House returns with its first release of 2012: a couple of original house jams by Chicken Lips’ Dean Meredith, teaming up with Ben Shenton and Tim Silver and a couple of remixes courtesy of Chicago Damn and production guru Brennan Green. “Il Principal” features atmospheric washes but quickly morphs into spastic boogie. Chicago Damn’s take is deeper. “M5-M6” picks up the pace and Brennan Green’s remix adds more bells and whistles to great success.
RENE, WENDY: After Laughter Comes Tears CD (LITA 080CD) 15.00
Subtitled: Complete Stax & Volt Singles & Rarities 1964-65. “First ever anthology of Southern soul legend Wendy Rene including eleven singles, nine rarities and two unreleased songs. Born Mary Frierson in Memphis, Tennessee, home of Stax Records, Wendy Rene was christened by Otis Redding on signing to Stax as a teenager in 1963. Back then, she and brother Johnny Frierson, both singers at the Church of God in Christ, were determined to make it in music. Forming singing quartet The Drapels with two friends, they took the bus to 926 E. McLemore Avenue, auditioned for Stax co-founder Jim Stewart, and won a deal on the spot. ‘As soon as we finished with the Drapels’ songs and [the rest of the band] were going to the bus stop, I showed Mr. Stewart my songs,’ recalls Rene. The result? Stewart found two acts in one, and Mary had two contracts with Stax. Though her career was brief, Wendy Rene left behind a thrilling catalogue of classic soul. Here, Light In The Attic gives it the archive treatment it richly deserves. Listen, delve and enjoy. Glorious mono sound restored and remastered from the original tapes.”
RENE, WENDY: After Laughter Comes Tears 2LP (LITA 080LP) 24.00
2LP version housed in a gatefold “tip-on” jacket.
SANDSTONE: Can You Mend A Silver Thread? CD (LION 648CD) 15.00
“There is nothing ordinary about Sandstone. This private press folk/psych album (1971) is so head and shoulders above almost every other album in the genre, it’s hard to believe it’s not better known. The instrumentation and compositional style are reminiscent of heavy English folk hitters like Mellow Candle, Pentangle, and Heron. The Sandstone album was not a major label production like those records. But the local studio at which it was recorded must have been quite high end, because the production quality is astounding. Nearly everyone involved in these recordings was younger than eighteen, but there’s very little evidence of that: the music is well constructed, and no aspect of it is without sophistication well beyond the years of its creators. The three teens behind this music (David Sheirer, Laurie Braunstein, and Mario Grella) molded a seamless compound of British trad-folk with themes of American antiquity, from pilgrims’ progress to Civil War tragedies to the tainting of their unspoiled valley. Poetic lyrics, haunting female vocals, and judicious use of string sections, all serve Sandstone’s entirely original compositions: the result is a dreamy, wistful mood that calls to you across the decades. After weeks of recording, overdubs, and mixing, the album was sent off to be manufactured. Sadly, the band only had cash enough for around 300 copies. Other than a few college radio spins for ‘Flute Player’ barely anyone heard Can You Mend A Silver Thread? outside of their inner circle. A monumental accomplishment nonetheless! From the cover to the instrumentation to the deeply strange and lovely lyrics, maybe the truest folk/psych music that these shores ever produced. Our Lion Productions edition (courtesy of Numero Group) includes two bonus tracks, out-takes from the album sessions.”
HEAVEN & EARTH: Refuge CD (LION 652CD) 17.00
“This reissue has been a long time coming, in no small part because we wanted it to be perfect. We’re happy to finally be able to announce the re-release of this psychedelic folk/funk beauty from 1973, featuring the gorgeous voices of Pat Gefell and Jo D. Andrews (and produced by Space Age percussionist/composer Dick Schory for his short-lived but influential Ovation Records imprint). At one time this was an album completely unknown outside of Chicago, where the label was based; but these days, word gets around, and tracks like ‘Feel The Spirit’ and ‘Jenny’ have been making the rounds on the DJ circuit. No matter what your musical taste is–psych-folk, funk, soft rock–this LP seems to have something special to offer. This is due in part to notable backing from veterans like bassist Phil Upchurch (Curtis Mayfield, Otis Rush, Stan Getz, Groove Holmes, and Cannonball Adderly), and space age pop maven Bobby Christian on drums and percussion. But primarily it is due to the clear voices and intelligent songs crafted by Gefell and Andrews. Our Lion Productions replica LP version comes in an old style tip-on gatefold jacket with lyrics printed inside, and includes an insert packed with band history and rare photos. It is a quality vinyl pressing, newly mastered from the original tapes. The deluxe mini-LP sleeve CD version has two booklets–one packed with rare photos from the Ovation Records archives; the other with musings by both members of the group on their time spent as Heaven & Earth. Better yet, the CD version has fifteen bonus tracks, including both sides of the duo’s two singles, as well as alternate takes and some never before released songs plucked from the vaults.”
JUNG MI, KIM: Now CD (LION 663CD) 15.00
“At the dawn of the 1970s, South Korea’s rock music scene was at its zenith. Much of the reason for this was the god-like guitar wizard, songwriter, producer, and arranger Shin Joong Hyun. For this album, he took a young girl named Kim Jung Mi, and transformed her from a wallflower student into a folk-psych chanteuse in record time (if Francoise Hardy is the Marianne Faithful of France, then Kim Jung Mi is, I suppose, the Francoise Hardy of Korea). The ten songs on Now were written and recorded during 1973 with a firm mandate to create a truly psychedelic sound experience. On each number, Shin Joong Hyun and his backing group laid down pure emotion on tape. Mr. Shin’s fuzz guitar weaves in and out of the tracks, interlaced with his own poetic musings on nature (spring, sun, flowers, rain, and wind), all else in the world apart from Kim Jung Mi’s soothing voice and insistent bass that crouches and creeps, depending on its mood, displaced. This raw feeling, combined with Kim Jung Mi’s seductive, expressive vocals and empathetic string orchestration, resulted in an album that is nothing short of awe-inspiring. Mr. Shin’s ethereal cover photo–the blue graininess of the sky dripping into fading clouds, with Kim Jung Mi surrounded on her sky-high isolated mountaintop by flowers–is the perfect image to represent what is, without a doubt, one of the best psychedelic albums ever created. Our version of this quintessence of psychedelia features Korean/English lyric translations, rare photos, re-mastered audio, and comprehensive liner notes by Kevin ‘Sipreano’ Howes and Shin Joong Hyun expert Jae-Myeong Ro (director of the Korean Classical Music Record Museum, and author of the book Shin Joong Hyun and Beautiful Country. The deluxe mini-LP sleeve CD version has a 20-page booklet with rare photos, and great stories about Shin Joong Hyun and Kim Jung Mi’s continuing place of prominence in the Korean music scene.”
DUNBAR, MAXMILLION: Polo (Versions) 12″ (PLAYRJC 016EP) 12.50
Maxmillion Dunbar hangs out in the vague territory between slow-motion house with a hip-hop feeling or dubby and dubious music. “Polo” has cautiously been modified, fine-tuned and extended for its label home. The only kid able to throw down the remix gauntlet is Phillip Lauer (Arto Mwambe, Brontosaurus, etc.), who turns “Polo” into one of his trademark, sluggish bass line-barrage tracks with falsetto synths and sharp snares. Get your vogue brogue out.
SPAM CHOP: The Cuckup EP 12″ (MIMM 002EP) 11.00
Lukas Cole aka Spam Chop has been a long serving proprietor of wonky, complex and intricate music. So MiMM have decided it’s about time the left-of-center techno producer brought his own tunes to the table. “Cuckup” operates in the realms of the cinematic, with stunning chords dripping and bending their way through a soft terrain. On the backside, there’s the dancefloor-driven duo of “Blergzz” and “Frames.”
ERNESTUS, MARK: Mbueguel Dafa Nekh/Dub Dafa Nekh 12″ (ND 001EP) 13.00
“A stunning new production by Mark Ernestus, drawn from his recordings with some of Senegal’s greatest musicians: a griot clan of Sabar drummers from Kaolack in Senegal, led by Bakane Seck, with guest players and vocalists. Jeri-Jeri’s style of Mbalax is swingingly masterful heady and hard-grooving, with highly complex, fiercely succinct poly-rhythms an ancient-futuristic music, mesmeric but sharp as nails, super-charged with drama. Featuring the lovelorn vocals of guest Mbene Diatta Seck, Sabar traditions are fused with furious Afro-Cubanismo, hard funk-rock, and shards of high-life. Ernestus’ nasty, hypnotic, stripped dub a first in Mbalax edges in the bass, profiles the talmbat and tungun drums, and scoops the sense out of the vocal.”
VA: The Gorilla 12″ (NMREC 1203EP) 11.00
Necessary Mayhem producer Curtis Lynch aka Da Grynch has come up with a new riddim named “The Gorilla.” The line-up of artists who have vocalled on “The Gorilla” reads like a who’s-who of the current reggae industry. For the opening of the EP, Macka B singjays with a message. Massicker, Blackout JA & Askala Selasie join forces at the mic on “Proud To Be Rasta,” and both cuts come armed with cone-testing dubs courtesy of Da Grynch.
CRUISE FAMILY: We’re In Heaven 12″ (NNF 247EP) 14.00
“Vinyl debut by this Viennese rave abstractionist boils down pulsing LED beats and deep synth strobe FX into a cavernous laser-streaked fog. In blinding Alex Grey-style acid-body artwork by Mr. Cruise Family himself.”
CUTICLE: Mother Rhythm Earth Memory 12″ (NNF 251EP) 14.00
“NNF debut (after an EP on 100% SILK) by this Iowa City electronic maximalist. M.R.E.M. is the first purely solo Cuticle release, after working with a series of part-time collaborators, and it’s freed him to let loose his wildest and weirdest impulses.”
FORMULA & CHRISTINE HANSON, DAVE: The Organ Of Corti CD (OCD 015CD) 16.50
The new collaboration between Christine Hanson and Dave Formula has been established to explore and record the range of opportunities and possibilities within a variety of acoustic and electro-acoustic landscapes. Their new album presents the results of these musical explorations. The music will be presented in a series of live shows, often featuring guests appearing on the recordings. These include: Howard Devoto and Noko (both from Magazine and previously in Luxuria), Giorgio Li Calzi (award-winning jazz trumpet player), Michael Marra (acclaimed Scottish singer and songwriter) and Pat McCarthy (UK leading jazz guitarist), among others. Dave Formula: “We met in 2009 and quickly realized that we’d both had a recurring dream about a series of adventurous and diverse musical themes. We decided to record them all and wanted these sensory themes to enter your ears. Allow yourself to have a similar adventure as us — but it can be your version of it and you can have it whenever you like — and when you’re awake! Please keep your clothes on throughout.” Christine is a cello player with a rich and varied career on both sides of the Atlantic. In 2008, she wrote scores for the wildlife documentary series Beasties — aired on BBC2 UK and Canadian national TV. She was also invited, as a composer, to participate in the IRCAM week, hosted by the BBC in Glasgow. Dave rejoined his Magazine colleagues for five sold-out shows in February 2009 to great critical acclaim. In summer 2009 Magazine played several European festivals and an acclaimed show at London’s Royal Festival Hall. The band closed the year with TV appearances on Later With Jools Holland and BBC Electric Proms.
HIGNEY, KENNETH: Attic Demonstration LP (OKF 001LP) 20.00
“Often considered the Holy Grail of ‘real people’ records, Kenneth Higney’s Attic Demonstration was never actually intended to be an official release. It was recorded in New York City by Higney and his accompanist Gordon Gaines (R.I.P.) as a vehicle with which to sell Higney’s songs to other artists and was only pressed to vinyl in 1976 when he grew tired of duplicating cassette tapes. Apparently the Jandekian dissonance of the ‘A. Demo.’ sound was an unintended by-product of the one take demo sessions. Be that as it may, Attic Demonstration is a strange sonic world all of its own. It is neither too weird to be unappealing to ‘regular’ music listeners nor is it one of those discoveries that leaves you wondering what all the hype was about. Acoustic guitar ballads of nearly atonal desolation mix readily with rock ‘n’ roll numbers featuring hiccuping drums and alien sounding electric guitar. Higney’s vocals are by turns sneering and mournful as he sings about lost love and the desire for fame all filtered through his uniquely bent worldview. Although a few ads were placed for the record in The Village Voice and The Aquarian, the fame that Higney sought eluded him (a semi-positive review in Trouser Press notwithstanding). That is, until the album was discovered and distributed by record dealer Paul Major. Attic Demonstration has been featured in the Acid Archives and copies of the original LP have soared in price over the years, but you no longer have to pay $100, $200 or even $300 to obtain a copy of this monumental album on vinyl. One Kind Favor and Kenneth Higney have teamed up to bring you an official reissue of Attic Demonstration remastered, with all the original artwork and with liner notes by the artist.”
SOUND CEREMONY: Sound Ceremony LP (OKF 002LP) 18.00
“‘We bring to your attention, an invitation to the bizarre.’ So goes the final song on Canadian born guitarist and songwriter Ron Warren Ganderton’s 1979 LP with his group Sound Ceremony. Ganderton self-released three LPs with the band while living in the United Kingdom during the 1970s and ’80s. First came Guitar Star (1973), then Sound Ceremony (1979) and finally Precious As England (1981). Despite some modest distribution and frequent gigs, the band never seemed to really take off and Ganderton eventually returned to his native Vancouver (where he still resides), leaving hundreds of unsold records in the attic of his house. While these copies seem to have been lost to the ravages of time, One Kind Favor will now reissue the second Sound Ceremony LP. All of the group’s efforts are undeniably unique, but their middle record is the true brain-damaged winner of the bunch. The record surely fits somewhere into the UK punk explosion of the day, but it’s also looks back to the mid-sixties rock that Ron cut his teeth on and ahead to some sort of maniac future form of entertainment that perhaps has not been invented yet. Ganderton’s mildly ‘out of it’ stream of consciousness lyrics show a clear lack of self-censorship and that’s really one of the albums strongest assets. He has created this character of himself as a huge rock star and a sex symbol, and who are we to deny his claims? The band chugs along amiably as Ganderton covers such terrain as his beating heart (it’s made of rock), his distaste for education (he’d prefer to teach a lesson in bed) and his electric brain (which happens to be insane). If you’ve never heard a singer do a count-off all the way up to seventeen, then now is your big chance! Features what is perhaps the greatest anti-cigarette song of all time.”
GLASS, PHILIP: In The Penal Colony CD (OMM 078CD) 19.00
“Philip Glass’ one act chamber opera In the Penal Colony was composed in 2000. The libretto is by Rudolph Wurlitzer and based on a story by Franz Kafka. Scored for string quintet and two singers, this world premiere recording by the Music Theatre Wales under the direction of Michael Rafferty features tenor Michael Bennett as the Visitor and baritone Omar Ebrahim as the Officer.”
DARLING DEARS & FUNKY HEAVY, THE: I Don’t Think I’ll Ever Love Another/And I Love You 7″ (OR 001EP) 7.50
“Now-Again is happy to launch New York funk/soul researcher and archivist David Griffith’s Orivious Records with a masterpiece: the sole document of a lost and unlikely teenage ‘sweet-funk’ collaboration between Rochester, New York vocalists the Darling Dears and backing band Funky Heavy. Originally issued in 1972, the record never made it beyond the city’s west side. Today, this rare and exquisite blend of fragile female harmony atop an unexpected bed of raw, plodding funk commands four figures at auction when it appears in its original form.”
POLLYESTER: Concierge d’Amour/Voices Remixes 12″ (PERMVAC 080EP) 12.00
Tribal rhythms, energetic Krautrock, disco strings and witch-house moments featured heavily on Pollyester’s debut album Earthly Powers. Two of the stand-out tracks “Concierge d’Amour” and the cover version of the Russ Ballard song “Voices” get the remix treatment here. Prins Thomas adds disko craziness to “Concierge d’ Amour” while the Permanent Vacation boys explore the deeper side of the Pollyester sound. Pional strips down “Voices” to its infective melody and Baris K gives “Voices” the Bosporus cosmic treatment.
UNKNOWN ARTIST: Remixes 2012 12″ (PETS 017EP) 12.50
This is an EP by a very well-known house artist who wants to keep his identity secret. He sent Pets Recordings some parts of his old ’90s house tracks and luckily they were remixed by Coat Of Arms and BrEaCh from the UK. This is a very special release.
PASCUAL, ALBERTO: Vertigo EP 12″ (PLUS 8124EP) 11.00
Alberto Pascual presents his debut EP for Plus 8. A skilled DJ and live performer, Pascual has been producing since 2004, with over 30 releases to his name. It’s much the same on the title track, which hits loopy depths immediately. Dramatic FX, crunchy hats and tension-mounting hisses fill out the spaces between the beats. “Truchas Rancias” is more reserved: Economical arrangements characterize the techno eeriness this time. “Continuous Learning” is more unhinged, with swirling synths, dripping water sounds and shadowy voices.
GARCIA, SIMON: Cavern EP 12″ (PFR 126EP) 12.50
Producer Simon Garcia continues his quest for the Holy Grail of modern house and techno. “Cavern” is a breathtaking ride — a warm, pulsating synth pattern is coaxed along by a dusty, filtered kick. “Bass II Bass” treads more swinging, groovy territories in a classic New York-styled house track, updated for 2012. The emotive piano house vibes of “Options” will likely raise a few tingling hairs — a slinky, moody slice of classic house.
BAKER, LAVERN: Love Me Right/Tiny Tim 7″ (POPC 109EP) 8.00
LaVern Baker was one of the ruling queens of rhythm & blues through the ’50s, a singer who had all the ingredients to be an R&B diva — a knockout voice, oodles of charm and feminine sass. “Love Me Right” is slightly uptempo for most popcorn — a driving, swinging R&B number with incredible riffs and an irresistible vocal turn. “Tiny Tim” is slow and decidedly slinky as LaVern is joined by the baritone-voiced Jimmy Ricks for a brazenly suggestive duet.
KING, EARL (CONNELLY): Every Whicha Kinda Way/Daddy Laddy 7″ (POPC 110EP) 8.00
Two cool “New Breed” style popcorn R&B dancers back-to-back, both recorded in New York for the King label, home to so many classics of the genre. “Every Whicha Kinda Way” has a cool, foot-moving, hand-clapping rhythm and sharp backing vocals, while “Daddy Laddy” is a slightly greasier, plodding mover with a jerking rhythm and a sleazy sax. Both sides are guaranteed to do the business, whether you choose to listen in your living room, or drop it at your club.
INEDITA, CECILIA: En Concierto 2LP (VO 011LP) 43.00
“Cecilia, cult Spanish folk singer from the 70s who tragically died in 1976, has just been revamped with the release of these lost recordings. It’s a double album vinyl set with live recordings in perfect sound quality, mostly done in various radio stations. Has most of her hits, plus covers of Pete Seeger, Dylan, Simon & Garfunkel. Gatefold cover, limited to 400 copies.”
AITKEN, LAUREL: Calypso Rock & Roll: Early Mento Recordings LP (RUM 2011020LP) 21.00
“Unmissable singles collection documenting the early days of the man the world will always remember as the ‘Godfather of Ska’. Born in Cuba in 1927 but raised in Jamaica, Laurel Aitken played an important role in the growth of the ‘Mento’ music (indigenous Jamaican folk-based music, blending elements of European melody and African rhythm) phenomenon, while the Jamaican music industry was taking its first, hesitant steps back in 1958. Including such classics as the ‘Day-O’-influenced ‘Mass Charlie’ or the pivotal ‘Calypso Rock ‘n’ Roll’, this is a must-have for anyone willing to know more on the origins of rocksteady and ska.”
AITKEN, LAUREL: Boogie In My Bones: Early Steps Of The Godfather Of Ska LP (RUM 2011021LP) 21.00
“More of the R&B and early Mento singles by the Godfather of Jamaican ska. Chronicling his last twelve months before leaving the island in 1960, this collection includes his collaborations with legendary Jamaican producers such as Chris Blackwell and Duke Reid, confirming his calypso leanings, but also anticipating that pronounced guitar offbeat heralding the approach of ska. Over the course of many years the man became a legend for mods, punks, skinheads and 2Tone fans all over the world, but his roots are here in his late ’50s and early ’60s production.”
GROUP ONGAKU: Music Of Group Ongaku LP (SEER 001LP) 20.00
“Group Ongaku, founded mainly by students at Tokyo National University of Fine Art & Music, was the first collective musical improvisation group. The group began their activities in 1958 and from the naming of the group in 1960 onward continued until somewhere around 1962. They attempted to create acoustics corresponding to actual time & space by means of collective improvisation. Although methodically different, the music that they pursued incidentally shared common directions with contemporaries such as John Cage and other involved in the avant-garde artist collective of Fluxus.” — Takako Okamoto, taken from original liner notes.
KALI, MAITREYA: Apache/Inca 2CD (SHAD 005CD) 18.00
Restock of this 1999 reissue; the original LP recently sold on eBay for over $10,000. Famously included in Paul Major’s “Top Five of Weird Underground Psych/Folk”, as revealed in Vice magazine. First CD reissue of this strange late 60s set of artifacts (previously reissued as an elaborate 2LP set on Little Indians). “”California deep Psychedelic loner. Acid leads, mystical vocals, tons of effects, completely stoned feeling. Came out as 2 single albums and even more limited as a double album. Only 3 copies known. The music is outta space psychedelic with great songs and beautiful vocals. A real killer from beginning to end.”
OVAL: OvalDNA CD/DVD (STRIKE 134CD) 19.50
In many ways, O, released on Thrill Jockey after a nine-year break, was a second debut album for Markus Popp aka Oval. A radical break with old concepts and methods, a new beginning. While Popp’s artistic approach in the 1990s and early 2000s was more of a structural, theoretical nature, O was just about the music itself. Themes such as the means of production, limitations, dogma and concept took a back seat to a musical sensibility. Instead of writing new software to synthesize and process sounds, for O, Popp dove into the heart of our preset-culture. He acquired a standard PC and only used the pre-installed sounds and plug-ins. With this ready-to-play machine and conventional musical instruments like the guitar and drums, a new chapter in the story of Oval was written. DNA is a mountain of an album: an audio CD with 25 tracks, each about three minutes long. Some are no longer than a minute. Here you’ll find a collection of rare Oval pieces and 12 previously-unreleased tracks. DNA is a mixture of music from Markus Popp’s various creative phases. It’s surprising how old and new meld seamlessly together, and how, for Oval, formalism and musicality have produced similar results. Markus Popp has found an unmistakable musical language and declined it from A to Z. DNA, so to say, is the accompanying dictionary. Originally, this album was supposed to appear before O and conclude the “electronic” phase of Oval. DNA is intoxicating and wonderful. There is the intensive guitar work of the new pieces, an eruptive bundle of sounds, the sparkle and shimmer of high tones. The simultaneousness of countless events, unbelievably dense and at the same time secretly light. Disc 2 of DNA is almost something like an Open Source Manifesto: It contains the SoundBrowser/Sequenzer-Software OvalDNA and more than 2,000 Oval Sounds from various phases of Popp’s work as individual AIFF files. The software and sound files are intended for music producers and are available to all without restrictions. Also included is a video documentation of PlayGroundTV/Madrid, the Glass UFO music video by AmberleyProductions/Berlin and 10 bonus tracks for the OvalDNA album as WAV files.
GUIDO: Micro X/Vessel Dogs 12″ (JOY 001EP) 11.00
At the forefront of State Of Joy is Bristol-born purple pioneer Guido, whose previous releases on Peverelist’s Punch Drunk label instantly established his credentials as an all-round master of melody. “Micro X” leads the plate with its intoxicating blend of fluttering, melodic bleeps, shards of sitar, sharp precision drum programming and rippling synth oscillations. “Vessel Dogs,” laden with shuffling hats and crunchy snares, plucking harps, rising pads and snippets of distorted guitars, delivers undiluted quality throughout.
HOUSE OF LOW CULTURE: Poisoned Soil LP+12″ (TAIGA 017LP) 31.00
House Of Low Culture is the long-running solo project of Aaron Turner (Isis, Mamiffer, Lotus Eaters, etc.) and Poisoned Soil is their first proper album to be released in nearly a decade. HOLC’s first release, Submarine Immersion Techniques Vol. 1, would set the tone for all that would follow. Recorded from 1997-1999, released in 2000, the album explored lonely, lysergic drone territories and the construction of textural weavings. Over the course of the next several years, Turner broadened HOLC’s sonic palette considerably — incorporating voices, keyboard textures, and other non-guitar instrumentation — while engaging in collaborative efforts with the likes of Merzbow/Masami Akita, James Plotkin, Z’ev, Stephen O’Malley and others. As of late, Faith Coloccia, Turner’s wife (and bandmate in Mamiffer), has become a regular contributor. Her presence can be heard and felt on HOLC’s new full-length recording, as can that of percussionist B.R.A.D (Asva, Master Musicians Of Bukkake, Burning Witch, etc). The three lengthy compositions within conjure a wide variety of spatial effects and spectral imagery when experienced under headphones: distant rumblings, ominous premonitions and strange equilibrium disturbances, all underscored by the hiss of naked electrical current. Mastered by James Plotkin, cut by John Golden and pressed on 200 gram virgin vinyl, Poisoned Soil is presented as a grand LP+12″ set with spot colors, printed innersleeves and flooded pockets in an edition of 500.
HORRID RED: Celestial Joy LP (TR 010LP) 18.00
“Horrid Red first appeared in 2010, emerging from the ongoing German/Cali Kraut-Punk institution that is Teenage Panzerkorps (est. 2001). While that band is known for its violently propulsive sound, Horrid Red was established to explore the more elegant and arcane aspects of post-punk & pop. Centered around grandiose bedroom productions of San Franciscan Edmund Xavier & the incantations of Bunker Wolf beamed in from Aachen, Germany, Horrid Red is in full bloom for 2012. Celestial Joy is the debut full-length for Terrible Records, following three EPs released on Soft Abuse & Holidays . The album also features Clay Rub of Burial Hex, who contributes heavenly keys & noise detail to many of the tracks.”
VA: West Indies Soul: Volume 1 CD (TRA 424006CD) 18.00
“After taking listeners on a funky, dance floor fueled journey through the West Indies with Disc’o’Lypso and their West Indies Funk compilations, the San Juan Puerto Rico based Trans Air Records marks their triumphant return with a softer side of island offerings. Sail away with us on West Indies Soul as the warm sounds and breezy rhythms of the islands come to life on sixteen choice cuts from a selection of the region’s top talent. Standouts include cover versions of Dyke & The Blazers — ‘Funky Broadway’ and Lou Rawl’s venerable ‘Love Is A Hurting Thing.’ These tropical ballads will melt even the coldest of hearts. Trans Air Records is proud to present West Indies Soul, with audio remastered from the original analog tapes for optimum sound quality.”
VA: West Indies Soul: Volume 1 2LP (TRA 424006LP) 20.00
MINILOGUE: Let Life Dance Thru You Remixes 12″ (TRAUM 147EP) 12.50
Traum presents some top remixes of tracks from Minilogue. The “Drop The Mask Of Self Protection” remix of Dominik Eulberg is a bit of an adventure, kicking off a relaxed percussive and deep house groove and undergoing quite an explosive transformation. With a lot of skill and finesse, Mr. Eulberg pulls the strings with accuracy and makes the transfer of what unfolds to be a heavy, big-pounding techno rocker. Other remixes from Microtrauma and Spada.
CHAMPS/THE RUMBLERS, THE: Club House/Blockade 7″ (TTSHAKE 101EP) 11.00
Jazzman presents a brand-new Jazzman oldies subsidiary. This new series of limited run 45s will focus on the wild and insalubrious sounds of the late ’50s and early ’60s. Each release will feature unique label artwork, and all are limited to 500 pressings. The Champs are the genre’s Beatles. “Club House” is one of the best Champs sides, but for some inexplicable reason it never saw an issue on 45rpm, until now. Side B features a track by The Rumblers.
CROWDPLEASER: Together We’re Strong 12″ (TURBO 102EP) 12.00
Gregor Schönborn’s single from his self-titled debut full-length on Turbo. Includes a remix by Mickey Moonlight.
CACHAO Y SU RITMO CALIENTE: Descargas CD (VAMPI 041CD) 12.00
2012 repress, originally released in 2004. Landmark recordings from the Cuban scene of the late ’50s –free-jamming Descarga sessions led by bassist Israel Lopez. The tunes on the set forever helped define the sound of Latin music –breaking down the more restrictive styles of earlier years and giving the players free reign to jam and improvise over tightly crafted rhythmic patterns. Apart from Cachao’s great work on bass, the set also features tenor by Emilio Penalver, trumpet by Armando Armenteros, and trumpet by Alejandro Vivar.
BROWN, RUTH: Black Is Brown And Brown Is Beautiful CD (VAMPI 047CD) 12.00
2012 repress, originally released in 2005. Ruth “Miss Rhythm” Brown was the hit-making queen from 1949 to the end of the ’50s; so much so that Atlantic Records was once called “the house that Ruth built.” Despite the fact that she was one of the main artists who established the New York label’s predominance in the R&B field, she was later forgotten by Atlantic. However, she came back stronger than ever, emerging with a worldwide reputation as R&B pioneer and advocate for the rights of her peers. Inspired by jazz legends Sarah Vaughan, Billie Holiday and Dinah Washington, Brown’s seductive vocal delivery delighted millions on legendary chart-toppers such as “Teardrops in My Eyes”, “So Long,” “Mambo Baby” and many others. Later, her sharp sense of humor lead her to a TV sitcom, a role in John Waters’ movie Hairspray and a Tony Award for her starring role in Black and Blue at Broadway. On the aptly titled Black is Brown and Brown is Beautiful, originally released in 1969, she puts her strong voice to soulful covers of “Yesterday,” “Please Send Me Someone to Love” (Mayfield) and her own songs such as “Miss Brown’s Blues.” This material is closer to soul than jazz, and full of joy and rhythm. Discover a truly glorious singer and R&B legend.
GOLDMANN, STEFAN: Emptying The Vaults Vol. 3 12″ (4 46085EP) 12.00
Part 3 of the series of three EPs unraveling unreleased classic house tracks by Stefan Goldmann. The main tracks here are pure dancefloor material, with “Electric Bazaar” centering on in-depth drum design. “Zobel Network” provides a prime example of neurofunk. Hidden on the A-side, “Chapter 2” is an early hint at Stefan’s experimental edge. Restored from the original master tapes and cut by Dubplates & Mastering’s Rashad.
CAGE, JOHN: Etudes Australes 4CD (WER 6740) 64.00
“John Cage’s Etudes Australes, performed here by pianist Sabine Liebner, launched a series of virtuoso studies born out of the composer’s renewed interest in traditional instrumentation and notation. This complex work consists of a total of 32 etudes divided into four books, which John Cage based on maps of the southern night sky. From these maps, locations of planets were selected via chance and translated into pitches, transforming indeterminacy into a new aesthetic category. For Cage’s Etudes Australes, the moment of performance is its only moment of reality. Only what is in the present can be heard: in this case, a constantly changing kaleidoscope of sound.”
VA: Earle Brown Contemporary Sound Series Vol. 4 3CD (WER 6937) 48.00
“Wergo’s reissues of the legendary Earle Brown Contemporary Sound Series have been a big hit with fans of contemporary music around the world. Each set is a treasure-trove of works by a wide range of composers, performed by some of the finest musicians of the time. The three CDs of volume four feature string quartets by Boulez, Scelsi and Earle Brown, works for chamber orchestra by Xenakis, Aldo Clementi, Bo Nilsson, Wlodzimierz Kotonski and Yuji Takahashi and works by Milko Kelemen, Niccolo Castiglioni, Vittorio Fellegara and Isang Yun that were originally premiered by the Hamburger Kammersolisten.”
LONELY C & BABY PRINCE: Not So Lonely Remixes 12″ (WLM 019EP) 12.00
Wolf + Lamb Records revisits the warm and enthralling productions that make up the Not So Lonely EP from the formidable duo Lonely C (Charles Levine, half of Soul Clap) & Baby Prince (the “lamb” half of Wolf + Lamb). Tanner Ross remixes “I Remember Those Days,” Art Department’s Kenny Glasgow aka “The Talent” reworks “Just Be Yourself,” Voices Of Black also take on “I Remember Those Days,” and Zev goes to “Your Mom’s House.”
KALHOR, KAYHAN: I Will Not Stand Alone CD (WORLD 468100) 19.00
“On I Will Not Stand Alone, Kayhan Kalhor debuts a new instrument, the shah-kaman, designed especially for him. He is accompanied by Ali Bahrami Fard, on the rarely-heard bass santour. The album is a meditation on one of the most difficult stages in his life, where darkness and violence seemed to be taking over yet through music and his connection to the people, hope rises. Its message is a bittersweet reflection on love, life and country.”
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